Memorial design in the West has been explored in depth (Stevens and Franck, 2016; Williams, 2007), and for landscape architects it presents opportunities and challenges. However, there is little in the English language literature about memorial design in China. How have Chinese designers responded to the commemorative settings of war and disaster? This study will adopt the method of case study to analyse two of the most representative memorials in China: Nanjing Massacre Memorial Hall (war) and Tangshan Earthquake Memorial Hall (disaster). Both landscapes have undergone three or four renovations and extensions in the last four decades, demonstrating the practical effects of the Chinese landscape theory. These examples of responses to trauma through memorial landscape interventions are testimonies to the witnesses, victims, abusers, ordinary people, youth and the place where the tragedy took place. This study will explore the reconstruction and expansion of the two memorials under the background of China's policies on memorial landscapes in different periods, as well as their functions of each stage. The research will examine how existing Chinese memorial theories exhibit unique responses at different times in response to the sadness and needs experienced by different users.
Key Words：memorial landscape; memorial language; victims; descriptive; architecture; experence; disaster; memorial hall; landscape development; Chinese memorial; war.
During the 21st century, New Zealand has experienced increasing public concern over the quality of the design and appearance of new developments, and their effects on the urban environment. In response to this, a number of local authorities developed a range of tools to address this issue, including urban design panels to review proposals and provide independent advice. Following the 2010 and 2011 Canterbury earthquake sequence, the commitment to achieve high quality urban design within Christchurch was given further importance, with the city facing the unprecedented challenge of rebuilding a ‘vibrant and successful city’.
The rebuild and regeneration reinforced the need for independent design review, putting more focus and emphasis on the role and use of the urban design panel; first through collaboratively assisting applicants in achieving a better design outcome for their development by providing an independent set of eyes on their design; and secondly in assisting Council officers in forming their recommendations on resource consent decisions. However, there is a perception that urban design and the role of the urban design panel is not fully understood, with some stakeholders arguing that Council’s urban design requirements are adding cost and complexity to their developments.
The purpose of this research was to develop a better understanding on the role of the Christchurch urban design panel post-earthquake in the central city; its direct and indirect influence on the built environment; and the deficiencies in the broader planning framework and institutional settings that it might be addressing. Ultimately, the perceived role of the Panel is understood, and there is agreement that urban design is having a positive influence on the built environment, albeit viewed differently amongst the varying groups involved. What has become clear throughout this research is that the perceived tension between the development community and urban design well and truly exists, with the urban design panel contributing towards this. This tension is exacerbated further through the cost of urban design to developers, and the drive for financial return from their investments.
The panel, albeit promoting a positive experience, is simply a ‘tick box’ exercise for some, and as the research suggests, groups or professional are determining themselves what constitutes good urban design, based on their attitude, the context in which they sit and the financial constraints to incorporate good design elements. It is perhaps a bleak time for urban design, and more about building homes.
Creativity that is driven by a need for physical or economic survival, which disasters are likely to inspire, raises the question of whether such creativity fits with conventional theories and perspectives of creativity. In this paper we use the opportunity afforded by the 2010-2013 Christchurch, New Zealand earthquakes to follow and assess the creative practices and responses of a number of groups and individuals. We use in-depth interviews to tease out motivations and read these against a range of theoretical propositions about creativity. In particular, we focus on the construct of “elite panic” and the degree to which this appeared to be evident in the Christchurch earthquakes context. Bureaucratic attempts to control or limit creativity were present but they did not produce a completely blanket dampening effect. Certain individuals and groups seemed to be pre-equipped to navigate or ignore potential blocks to creativity. We argue, using Geir Kaufmann’s novelty-creativity matrix and aspects of Teresa Amabile’s and Michael G. Pratt’s revised componential theory of creativity that a special form of disaster creativity does exist.
